【獨家首發】More Design Office | 間離劇 ? 模糊演員與觀眾的界限

設計 07-24

DESGIN CONCEPT

來到這個劇院的觀眾，都是自己這齣戲的演員和導演。

間離劇以獨特的形態，為觀眾提供了別具一格的體驗。劇院的構思要求建築師對空間、事件和運動進行仔細地思考和設計，從建築層面處理個中關係。MDO在深思熟慮後，決定以誇張的形式、燈光和流線，來應對這一挑戰。建築師將黑色電影的藝術表達和強化的戲劇感融入到設計中，創造出一系列對比性極強的空間；身臨其中，就好似在欣賞一組膠片鏡頭蒙太奇。

The Jianliju theatre company, in an interesting examination of typology, offers aunique spectator experience where the audience plays an integral part of their performances and productions, as such the brief for their new premises inShanghai demands a careful architectural approach to the relationships between space, event and movement. MDO, the architects selected to take on this mantle,have addressed these conditions with a deliberate and exaggerated explorationof form, lighting and circulation. The practice has taken the cinemat.

劇院位在上海市中心一條不顯眼的街道上，大門隱藏在一家古董傢具商店後側。到場的觀眾會首先收到時間、地點和數字這三條信息。從正門進入，一段台階將觀眾帶入到幾乎全黑的空間內；建築師通過對流線的設計，使觀眾就此與外界暫別；彎曲的黑色走廊里，微暗的燈光和不對稱的構圖造成一種迷失感，並將觀眾引向劇場內部。空間按線性排列展開，促使觀眾不斷向前探索，就好像深夜裡跟隨著一個未知的身影前行。

The theatre is accessed off a non-descript side-street in central Shanghai, theentrance door hidden at the back of an antique furniture emporium. Visitorsarrive only with a time, location and number. From the door, a stair leads downinto the darkness and from there the circulation seeks to create a sense ofdeparture from the world outside, a deliberate act of disorientation initiated by a dark curved corridor that emphasizes low-key lighting and unbalanced compositions leads to the spaces inside. The functions are organized into a linear arrangement of spaces, where the visitor is prevented from going backwards, as if following an unknown figure through the street at night.

伯納德·屈米先生的建築理論，尤其是1976年的著作《電影劇本》，對此類項目有著深遠的影響。MDO採用的諸多策略都參考了電影編輯的概念以及建築的時空特性。幾位知名的黑色電影導演常常用到的變形、重複和疊加等手段，都被建築師運用起來，以營造五十年代好萊塢情節電影的氛圍。

With work of this nature, the architectural theory of Tschumi, especially the 1976 Screenplays project, is never far away and many of the formal strategiesemployed by MDO directly reference the parallels with screen editing and thetime-space nature of architecture. Tools such as distortion, repetition andsuperimposition often used by the great directors of the film noir scene haveall been applied as a method to soak the interior with all the atmosphere of a50s Hollywood melodrama.

空間的色調連貫、單一、極簡。建築師通過對石膏表面的處理，賦予空間光澤度和層次感。明亮的大廳與此前的空間形成對比，內牆的吸音板和沿牆長椅讓這個獨立的房間略顯柔和；觀眾可以在演出開始前喘息片刻，靜靜等待高潮的來臨。

The palette is simple throughout, monotone, minimal with a hint at texture throughthe treatment of the plaster to give a lustre and depth to the spaces. Incontrast to the threshold sequence, the first space, the lobby, is bright andlined with acoustic paneling on the walls and benches creating a closed andsoft environment, a moment of respite before the performance begins and thedrama is further heightened.

時辰到來，參與者各自進入一個狹小的更衣室。針孔光圈將房間號碼投射到黑暗的走廊地面上，讓氣氛略顯詭異。更衣室內，厚重的絨布窗帘使人不禁想到大衛·林奇的電影場景。此時，參與者收到一份手稿，開始角色準備。

When it is time, each participant in the production enters a small changing space,highlighted by an eerie number projected from a pinhole aperture on to the darkcorridor floor. Here in a space reminiscent of a Lynch production set completewith heavy velvet curtains, they are provided with a script and transform intocharacter.

換上服裝的表演者們走進一條狹窄的環繞走廊，根據放大鏡里的顯眼數字找到對應的房間。完全不對稱的走廊設計，刻意營造不安的情緒，為接下來的表演拉開序幕。

They emerge from a costume change into a small anti-chamber where the four enclosingwalls are asymmetrical, an unsettling space where the main focus is on a numberdisplayed through a magnifying glass giving stage directions to the participating actors waiting in anticipation.

演出結束後，大家會來到一個全鏡面房間，並可以在此拍照留念。建築師通過這一設計，再次向膠片和電影傳統致敬，並試圖詮釋和思索演員與觀眾這兩個角色間的模糊界限，同時呼應整個空間的設計理念。
After the show concludes the sequence finisheswith a hall of mirrors, one final nod to the film reel and the cinematictraditions that their design engages with. Given this final space ispredominantly used for photographs and selfies, their last note isintentionally witty, a critical reflection perhaps on the ambiguousrelationship between actor and audience that their architecture has curatedthroughout.

More Design Office | 間離劇

▼設計圖紙

▼設計公司介紹

致力於根據客戶的需求制定美觀新穎的空間解決方案。我們對概念的藝術性和施工的工藝同樣重視。每個項目都根據其環境和條件量身定做，並在有限的造價和時間裡做出最好的效果。

We work across the fields of architecture, interior design and furniture, and areinterested in the connections between these different disciplines.

JayceeChui:

More Design Office

由徐伩君女士在2010年創立。徐伩君女士在香港出生，在英國和加拿大接受教育後成為一名註冊建築師協會認證的建築師和室內設計師。她擁有10年以上在倫敦和香港的工作經驗。她對細節的重視反映在每個項目的質量上，為日常的空間帶來美觀優雅的體驗。

2010 by Jaycee Chui and Justin Bridgland, we put an emphasis on process andinvestigation to create interesting projects.An ARB qualified Architectand interior designer, Jaycee was born in Hong Kong and educated in the UK and Canada. She has over 10 years of experience in London and Hong Kong, now basedin Shanghai. Her attention to detail is highly reflected in the quality of eachproject, bringing beauty and elegance to everyday spaces.

JustinBridgland: 橋義先生是英國皇家建築師協會認證建築師，擁有13年以上在倫敦工作的經歷，獲得了很多住宅、商業和辦公項目的獎項。橋義先生在英國與知名事務所Squire and Partners和RCKa 合作，創造了一系列獲得獎項的高質量項目。在2010年他移居到上海，並主導設計了在中國各地的各種規模類型的建築與室內項目。

Justin Bridgland is an RIBA Chartered architect from London with over 13 years workingon award winning residential, commercial and office projects. With asolid experience of delivering high quality projects with awarding winning firms Squire and Partners and RCKa in the UK, he moved to Shanghai in 2010 andhas lead a diverse range of architectural and interior designs across China.

▼項目概況

項目名稱 | 間離劇

事務所 | More Design Office (MDO)

項目狀態 | 2017年完成

項目面積 | 930平方米

項目地址 | 中國上海市閔行區紅松東路301號B1

客戶 | 間離劇公司

攝影 | Dirk Weiblen (

http://dirkweiblen.com/

)

標識設計 | lyn Chiu

供稿 / More Design Office